Download Dialogic Materialism: Bakhtin, Embodiment and Moving Image by Miriam Jordan-Haladyn PDF
By Miriam Jordan-Haladyn
Dialogic Materialism: Bakhtin, Embodiment and relocating photo Art argues for the relevance of Mikhail Bakhtin’s theories of dialogism as a method of reading the interdisciplinary nature of latest relocating snapshot artwork kinds. the amount contains six chapters divided into sections. the 1st part, half I, illustrates the most important strategies in Bakhtin’s multifaceted dialogism and develops those rules when it comes to relocating picture artwork. the main target of this primary half is the concept of what the writer phrases dialogic materialism, which builds upon the Marxism inherent in Bakhtin, studying the cloth procedures of cultural trade with a specific emphasis on multi-perspective subjective kinfolk. half II involves case reports that observe dialogic materialism to the relocating snapshot art of 3 artists: Stan Douglas, Jamelie Hassan and Chris Marker. utilising Bakhtinian conception to the sector of the visible arts offers a method of interpreting the essentially dialogic nature of relocating photograph artwork making and viewing, a viewpoint that's not absolutely constructed in the current literature
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Extra info for Dialogic Materialism: Bakhtin, Embodiment and Moving Image Art
The unfinalizability of dialogic discourse entails an understanding of the ever-expanding context that an artwork moves through, reaching deep into expanding time and space. Bakhtin constantly points out the superficiality of attempting to study an artwork without taking into account the interconnection and interdependence of cultural forms across generations. We cling to finalized words and worldviews because: We are afraid to remove ourselves in time from the phenomenon under investigation. Yet the artwork extends its roots into the distant past.
The text is only a bridge through time and as such enables people to speak to the future. This is why an artwork cannot be thought of as being finished. For Bakhtin, it is not just the past that is important but also the present, because it is in the enunciation of the now where agency is active. Through the chronotope time thickens and takes on flesh: it is through the body of the observer that the text is manifested. Though a text may exist as a concrete form (a painting, a film and so on) it needs a living person to read and respond to it in order to have posterity.
With any text there is a constant dialogue between past-present-future; each generation conceives of different messages in receiving the text, but over time a text also consists of the responses it has accrued from various points of contact. It is because of this that texts mutate and reappear in other forms. Such is the case with Stan Douglas’ Subject to a Film: Marnie, a filmic installation that responds to Hitchcock’s film Marnie, which I discuss in detail in Chapter 3. ”66 Even so, it is the observer who, as Bakhtin notes, brings the artwork to life, embodies it with a response and thus gives it form.